Stompin' at the Savoy

[jeffroi]

nice playing. My suggestions might have been stated, but so I'll re-enforce them.

1. You need to use more space
2. Play into the progressions more then starting your lines as they chords happen, anticipate the changes.
3. Technique wise, you should clear up your triplets as they are choppy compared to your 8th notes. Most people seem to focus a lot on 8th notes when they're learning bop improv, but the real juicy stuff is in the groups of 3. You're for the most part using them in the right place but you're flubbing them.
4. More alterations on your V7 to IMa7.

Thanks Jake, yes i definitely have to work on N° 1, 3 and taking risks on number 4, but I must admit I can't hear N°2, it sounds counter intuitive to me. You mean I should be sometimes aiming at a chord which are two or three bars away and play them instead of the changes of the bars i'm in ?
DOn't have my guitare right now, but i want to dig that tonight, i've never tried ...

[nado64]

So good the "french touch" !
It's my opinion, but your improvisation needs to have a progression.
Particulary at the beggining, do small lines, with few notes and more blanks.
You are very lightly after the beat.

But it's very good. (nice guitar for a french guy !)

[wizard3739]

Very nice playing Jeffroi! The best advice I can give is to keep on doing what you are doing. It is working and you should be very proud of your progress for three years. Jake has some good thoughts for you, especially about leaving more space and taking chances.

wiz

[Drumbler]

[quote=jeffroi;106403]

ok, i mean playing through the changes on a given area of the neck (let's say around the fifth fret) using arpeggios, in 8th notes, for example, behind a metronome setup on 2 and 4.
Here is an exemple where i do it with scales :

Excellent practice. I hope everyone watches this video.

Thank you.

[Jake Hanlon]

Thanks Jake, yes i definitely have to work on N° 1, 3 and taking risks on number 4, but I must admit I can't hear N°2, it sounds counter intuitive to me. You mean I should be sometimes aiming at a chord which are two or three bars away and play them instead of the changes of the bars i'm in ?
DOn't have my guitare right now, but i want to dig that tonight, i've never tried ...

I can clarify that point for you.

Leading into chords in the progression is sort of a way to say 'play over the barline' or 'hide the barline' without it being such an elusive thing. Basically you need to 'pick up' into your ii and V chords more then you're playing now. Not by whole bars but just be a beat or beat and a half.

Instead of starting a Dm7 chord of a II V I on beat one, start your like on the 'and of 3'. This is a very common device in bop vocabulary to the point of it being rather vital in order to phrase properly. You're very close to actually nailing most of the style for what your level seems to be at, adding some pick ups and anticipations to your longer lines will really solidify your playing stylistically in my view.

Anticipating by an entire measure is valid in a II V I progression as long as you are dropping out the II chord. By that I mean playing V V I. This is a common device used in Bebop players post Charlie Parker and into the playing more like say Freddie Hubbard and horn players of that ilk where you're playing more general dominants on the first bar but over a V7 chord, very altered over the second V7 and resolving all the tension over the I chord.

Sort of a long winded way of saying... more anticipation of the bar line, more b9/#9 b5/#5 on your dominant chords.

if my webcam worked properly I would do a demo for you of what I mean.